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| 1: Wagner: Tannhauser: Overture |
02:06
|
| 2: Anonymous: Domna, pos vos ay chausida |
00:28
|
| 3: We dont merely use instruments, we play on them. And they play on us. |
01:19
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| 4: Brahms: Hungarian Dance No. 7 |
01:39
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| 5: The violin is one of the most tender and beautiful instruments ever invented. |
00:45
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| 6: Brahms: Violin Concerto in D major: II. Adagio |
01:08
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| 7: But for a long time it was seen as the instrument of the devil. |
00:17
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| 8: Stravinsky: The Soldiers Tale: Triumphal March of the Devil |
00:45
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| 9: The manipulative seductiveness of the gypsy violin |
00:43
|
| 10: Anonymous: Csardas Music |
03:33
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| 11: The violin and the imitation of nature |
00:23
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| 12: Vivaldi: The Four Seasons: Spring: I. Allegro |
00:35
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| 13: Birds are again evoked in the second concerto, especially musics natural favourite. |
00:09
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| 14: Vivaldi: The Four Seasons: Summer: I. Allegro non molto |
00:41
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| 15: Like the devil, the violin is a master of disguise. |
00:18
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| 16: Kreisler: Schon Rosmarin |
01:55
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| 17: The menacing sensuality of Ravels Tzigane; a very different side of the violin: |
00:15
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| 18: Ravel: Tzigane |
00:51
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| 19: Do we now have the true measure of this instrument? Not just yet. |
00:15
|
| 20: Paganini: Caprice No. 24 |
00:48
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| 21: Bach: Brandenburg Concerto No. 4: III. Presto / Schubert: Quartettsatz in C minor |
01:57
|
| 22: Britten: Variations on a Theme of Frank Bridge: VIII. Moto Perpetuo |
01:06
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| 23: Prokofievs tremolo in Romeo and Juliet should not be heard just before bedtime |
00:22
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| 24: Prokofiev: Romeo and Juliet: Act IV |
00:46
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| 25: Vivaldi uses it to illustrate the shivering of travellers crossing the ice. |
00:14
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| 26: Vivaldi: The Four Seasons: Winter: I. Allegro non molto |
00:57
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| 27: The violin muted |
00:31
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| 28: Debussy: Clair de lune |
01:41
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| 29: The gentleness of muted strings persists even when a whole orchestra plays. |
00:30
|
| 30: Mozart: Piano Concerto No. 21 in C major, K. 467: II. Andante |
01:26
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| 31: The pizzicato violin |
00:38
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| 32: Strauss: Pizzicato Polka |
02:29
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| 33: In Prokofievs Second Violin Concerto, the accompaniment is pizzicato. |
00:26
|
| 34: Prokofiev: Violin Concerto No. 2 in G minor: II. Andante assai |
02:02
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| 35: Kabalevsky: Colas Breugnon / Warlock: Capriol Suite: III. Tordion / Prokofiev: Romeo and Juliet: Act I |
03:09
|
| 36: Holst: The Planets: I. Mars: The Bringer of War |
01:27
|
| 37: Bach: Sonata No. 3 in C major for unaccompanied violin: II. Fugue |
02:09
|
| 38: Brahms: Hungarian Dance No. 4 |
03:51
|
| 39: Double-stopping is a standard feature of a lot of folk music. |
00:14
|
| 40: Vivaldi: The Four Seasons: Autumn: I. Allegro |
00:37
|
| 41: Now the same technique, but the sound might have come from another world. |
00:30
|
| 42: Ravel: Bolero |
00:49
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| 43: Double-stopping can only approximate the sound of a real violin duet. |
00:20
|
| 44: Joachim: Cadenza to the Violin Concerto by Brahms |
00:44
|
| 45: Now compare that with a real violin duet. |
00:12
|
| 46: Bartok: 44 Duos: I. Teasing Song |
00:52
|
| 47: Another duo by Bartok, demonstrating the violins rich lower register |
00:10
|
| 48: Bartok: 44 Duos: II. Maypole Dance |
00:40
|
| 49: And now what may be the most beautiful accompanied violin duet in history |
00:17
|
| 50: Bach: Concerto in D minor for two violins: II. Largo ma non tanto |
06:43
|
| 51: The soul of the violin is in song; but what about this weird passage? |
00:42
|
| 52: Prokofiev: Violin Concerto No. 1 in D major: II. Scherzo |
00:34
|
| 53: The use of harmonics in the orchestra can be both magical and unsettling. |
00:29
|
| 54: Mahler: Symphony No. 1, Titan: I. Langsam, schleppend (opening) |
01:33
|
| 55: Tchaikovskys use of harmonics in The Sleeping Beauty is both strange and daring. |
00:11
|
| 56: Tchaikovsky: The Sleeping Beauty: Act II, No. 15: Entracte |
00:33
|
| 57: Ravels harmonics in Mother Goose effect a magical transformation. |
00:29
|
| 58: Ravel: Ma Mere loye (Mother Goose): IV. Beauty and the Beast |
00:36
|
| 59: Stravinsky: The Firebird: Introduction |
00:32
|
| 60: The natural upper notes of the violins have a unique emotional grab |
00:32
|
| 61: Strauss: Also sprach Zarathustra: Of the Afterworldsmen |
00:55
|
| 62: Still in their upper register, the violins unleash the energy of a young colt. |
00:14
|
| 63: Britten: Variations on a Theme of Frank Bridge: V. Aria Italiana |
01:10
|
| 64: Elsewhere, Britten uses the same high register to create a very different mood. |
00:11
|
| 65: Britten: Peter Grimes: 4 Sea Interludes, Op. 33a: I. Dawn |
01:08
|
| 66: To end this outing with the violins, a charming little elfin dance |
00:12
|
| 67: Hellmesberger: Elfenreigen |
01:29
|
CD02
| 1: Introduction to the viola |
00:42
|
| 2: Telemann: Viola Concerto: I. Largo |
02:46
|
| 3: Khachaturian gets a very different sound from it: fuller, fruitier, more exotic. |
00:14
|
| 4: Khachaturian: Gayane Suite No. 1: III. Armens Solo |
01:15
|
| 5: Very nearly the whole of the violins upper register is also available to the viola. |
00:39
|
| 6: Britten: Peter Grimes: Passacaglia, Op. 33b |
01:00
|
| 7: Strauss: Don Quixote |
01:03
|
| 8: Berlioz: Harold in Italy: IV. Orgy of Brigands |
02:00
|
| 9: The muted viola: intimate, gentle, poignant in Dvorak |
00:34
|
| 10: Dvorak: Cypresses: IX. Thou Only Dear One |
03:00
|
| 11: The massed violas of the modern symphony orchestra in Mahler |
00:40
|
| 12: Mahler: Symphony No. 4: III. Ruhevoll, poco adagio |
01:13
|
| 13: The period viola in Bach |
01:05
|
| 14: Bach: Brandenburg Concerto No. 6: III. Allegro |
05:18
|
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